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Caio Fonseca, Seven String, No. 1, 2001, Color spit bite aquatint and softground with chine-collé, 38” x 49”

With their depth of evidence and archaeological investigation—some hold as many as one hundred layers of worked encaustic—Goethals’ paintings excel at creating intimate spaces for revelation, the softness of her palette ripe with complexity. If Fonseca’s lyrical works bring to mind brass-heavy orchestrations and strong piano, Goethals’ work evokes avant-garde string ensembles and the quiet of Philip Glass or Ólafur Arnalds, inviting room for the audience to sit back and breathe in. The final player in this trio of visual instrumentation is ROBERT TREAT, who utilizes in his works the simple construct of architectural shape, the forms creating history and drama through the artist’s engagement of paint. With texture obscuring edges and complicating form, Treat’s work extends a visual dialogue through erosion—as echoes spreading within an acoustical chamber will recall the geometric languages and particulars of a space—and create a well of “sensual potential” for the viewer to tap.

Abstract Works is open October 11 through November 15, crescendoing on Sunday, October 19, at 3 p.m. in a special Artober collaboration with the Nashville Composer Collective engaging in a dialogue with the exhibited works through a series of cultivated compositions and performances. For more information, visit

Raphaëlle Goethals, Bliss, 2011, Encaustic on birch panel, 44” x 48”

66 | October 2014

October 2014 Nashville Arts Magazine  
October 2014 Nashville Arts Magazine